Rome - The Roman Cathedral of the Augustines - the religious order of Pope Leo XIV - retains Caravaggio's iconic painting of the Virgin Mary, a blockbuster artist who revolutionized the use of light and darkness in Western art.

The exhibition of the new works of the Baroque painter is now on display in Rome, until July 6, where his connection to spirituality can be updated.

From the Madonna of the Pilgrim of St. Augustine's Cathedral to the Hard Difficulty of St. Usula, which closes the exhibition "Caravaggio 2025", art historians and clergy have emphasized the connection between religious belief and Cavavio Giogio's "chiarocuro".

"It is the key point that drives us to the story," said exhibition curator Francesca Cappelletti of the artist's main role in invading the darkness. "Only through spiritual light investments, our life experience makes sense."

In Augustinian Madonna in the early 1600s, the audience attracted the audience on the eye level, a dirty sole at the feet of a ragged pilgrim couple as they knelt down on the Virgin Mary. She leaned against the door frame when she had a small child-sized Jesus.

This is far from the gentleman description of most Madonnas who are usually otherworldly. Pasquire Pasquiel Comio, the principal of the cathedral, said this makes it even more poignant in Augustine's spirituality because it illustrates the encounter between human nature and God's mercy.

"We see God wish to show humanity that he is the one who walks with the poor," Comio said. "It is certain that this Virgin Mary is approaching the possible fatigue, perhaps wounded, and certainly dirty humanity that may be burdened by daily life."

The name of the Pilgrim Madonna not only quotes two characters in front of Mary, but also says that since the late 13th century, the Augustinians have welcomed the pilgrims on their way to the nearby Vatican.

The richly connected customers of the painting commissioned it to be a shrine in central Italy in honor of Loreto's pilgrimage. He is a member of the famous Italian Accademia dei Lincei, who wrote a chapter on spirituality in the catalog of the Caravagio exhibition.

In fact, although Caravaggio worked for his life and his straightforward art, Caravaggio had worked for famous, devout customers including the Cardinal and had recorded attendances in Catholic rituals including the worship of the Holy Communion.

This hardly fits the reputation of an infringing “accused artist”, namely Caravaggio’s full name is Michelangelo Merisi, for centuries.

"We don't know what Caravaggio thinks because he didn't leave any writings," Zucari said. "I, like other experts, believe Caravaggio has his own spirituality."

He added that of Caravaggio's approximately 70 paintings, more than 50 represent saints or biblical scenes, even those destined to be private collections, not churches.

Some of these are most famous in the twenty paintings of the Palazzo Barberini landscape, covering the time when Caravaggio arrived in Rome around 1595 and his death in 1610. They include works from Dublin to Kansas City.

Caravaggio's first religious painting is St. Francis of Assisi, who depicts one of his early companions in the arms of an angel, the Leo, barely visible in the darkness around him.

Here are those early examples of those "Oscuri Gagliardi", a bold darkness, as 17th-century art critics quoted in the exhibition panel. "Gagliardo" is a word that the Romans still use today, meaning everything from Panini to people with special talents and strength.

Two other religious paintings and the innovative use of the same darkness and darkness is also creepy. In Judith's beheading Holofernes, the Jewish hero seems to be disgusted with the bleeding of his neck. In David's head of Goliath, the dripping head drips is a self-portrait.

Before dying at the age of 39, the artist also showed himself in his last painting and in the last of the new exhibition. He was the man who peeked in the darkness of the soldier, shocked and open, who had just shot into San Usula's chest.

Caravaggio More religious paintings in the church in the heart of Rome. Saul's conversion is still an early version of the exhibition, where Peter was crucified in Santa Maria del Popolo, and is also the Augustine community. Three paintings about St. Matthew are in the Church of St. Luji de Francesci.

Two blocks away, returning to Saint Augustine, pilgrims and visitors continue to flock to view Caravaggio and other artworks. For Comio, welcoming them is an opportunity to encourage Augustine’s spirituality.

"Augustin also left us this teaching - through the beauty of creation and the beauty of human works, we can also capture the beauty of God."

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